Michael Fremer Rated 9/10 Music, 8/10 Sound!

Analog Planet Rated 11/10 Music, 9/10 Sound!

Katy Lied, Steely Dan’s fourth studio album, originally released in 1975 by ABC Records, was certified gold-selling and peaked at No. 13 on the U.S. charts. The single „Black Friday“ also charted at No. 37. Showcasing the band’s blend of jazz, rock and pop music, its songs explore themes of betrayal, deception, and disillusionment with a sophisticated and cynical edge.

From the opening track „Black Friday“ with its upbeat tempo and biting lyrics about a stock market crash, to the mournful ballad „Doctor Wu,“ Katy Lied delivers a range of musical styles and emotions. The album’s standout tracks include „Bad Sneakers,“ a catchy and upbeat tune about a drug dealer, and „Chain Lightning,“ a dynamic rock song with a powerful guitar solo.

One of the defining features of Katy Lied is Steely Dan’s meticulous production techniques, which included multiple studio overdubs and the use of top-notch session musicians. The result is a polished and nuanced sound that highlights the band’s musical virtuosity and attention to detail.

Pitchfork noted: „(Katy Lied) captures Steely Dan in the thick of it all, still hungry and energized by their early burst of creativity but not taking anything for granted. Before Katy Lied, Steely Dan was a rock band, but this is the record where they became something else.“

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan’s popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn’t perform live between 1974 and 1993. But their popularity nevertheless grew throughout the ’70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

Katy Lied marks the first appearance of singer Michael McDonald on a Steely Dan album. Best known for his soulful voice as a member of the Doobie Brothers, McDonald is a five-time Grammy winner and was inducted into the Rock and Roll Hall of Fame as a member of the Doobie Brothers in 2020.

The album cover features a picture of a katydid, a „singing“ (stridulating) insect related to crickets and grasshoppers. This is most likely a pun on the album’s title; the „singing“ of a katydid sounds as though they’re saying „Katy did, Katy didn’t.“ Lyrics in the song „Doctor Wu“ include „Katy tried, I was halfway crucified“ and „Katy lies, you can see it in her eyes.“ The premise of the theme of Katy „lying“ is based on a quote from Denny Dias when he came to the studio to play on „Your Gold Teeth II.“ Jeff Porcaro, then only 21 years old, played drums on all the songs except „Any World (That I’m Welcome To),“ which features legendary session drummer Hal Blaine.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Katy Lied is a masterful album that showcases Steely Dan’s unique sound and stands as a testament to the band’s enduring legacy in the world of rock and jazz fusion.

I don’t care how you’ve previously consumed this album, play this UHQR edition and you’re likely to have a ‚heard it for the first time‘ experience—at least on some tracks. I did, and I’ve been listening to this record for just short of 50 years. Not the best sounding Steely Dan album by far but the best sounding version of it that I’ve heard. Based on that, if we had a third knob for ‚reissue quality relative to previous versions,‘ it would get a 10 or 11. But based on its intrinsic sound quality, 8 will do.
-Michael Fremer, Tracking Angle, Music 9/10, Sound 8/10

This UHQR pressing of Katy Lied isn’t just an upgrade — it’s a remastering-class-worthy revelation. Katy Lied performs a sonic miracle — sharpening the resolution, unveiling hidden nuances, and vastly expanding the soundscape.
-Ken Micallef, Analog Planet

Artykuł Steely Dan<br />Katy Lied pochodzi z serwisu Cleartone.

Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!

Purest possible pressing and most visually stunning presentation and packaging!

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Rolling Stone 500 Greatest Albums of All Time – Rated 168/500!

Michael Fremer Rated 9/11 Music, 9/11 Sonics!

Analog Planet Rated 8/11 Music, 9/11 Sonics!</b></font>

Steely Dan’s platinum-selling debut studio album Can’t Buy a Thrill, released in November 1972, was a commercial success, peaking at No. 17 on the Billboard chart. It later appeared on many professional listings of the greatest albums, including Colin Larkin’s All Time Top 1000 Albums (2000) and Rolling Stone magazine’s „500 Greatest Albums of All Time“ (2020).

The album was written by band members Donald Fagen and Walter Becker, recorded in August 1972 at The Village Recorder in Los Angeles, and produced by Gary Katz. Its music features tight song structure and sounds from soft rock, folk rock, and pop, alongside philosophical, elliptical lyrics. Two songs recorded during the Can’t Buy a Thrill sessions were left off the album and released as a single: „Dallas“ b/w „Sail the Waterway.“ This is the only Steely Dan album to include David Palmer as a lead vocalist, having been recruited after Donald Fagen expressed concerns over singing live. Drummer Jim Hodder also chips in lead vocals on one song, „Midnite Cruiser“ (sometimes spelled „Midnight Cruiser“), as well as singing the „Dallas“ single. By the time recording of the next album began, the band and producer Gary Katz had convinced Fagen to assume the full lead vocalist role.

AllMusic gave the album 4.5 stars, with reviewer Stephen Thomas Erlewine praising the core duo Walter Becker and Donald Fagen as „remarkable craftsmen.“ Erlewine noted that „there are very few of the jazz flourishes that came to distinguish their (later) albums“, but added that the first single from the album, „Do It Again,“ incorporates a tight Latin jazz beat, while the second single, „Reelin‘ In the Years,“ features jazzy guitar solos and harmonies.

Rolling Stone, in its review, said the debut album was a collection of some of the group’s best jazz/rock songs.

„Two of Fagen’s four (vocal solo) songs were the singles, ‚Do It Again‘ and ‚Reelin‘ in the Years,‘ the later starting off (and continues throughout) with a ripping solo by session player, Elliot Randall, and in fact, was rated by Led Zeppelin’s Jimmy Page as his favorite guitar solo of all time. That’s quite an endorsement. The song peaked at No. 11 on the Billboard Charts. ‚Do It Again‘ charted at No. 6, making it their second highest chart for a single. ‚Dirty Work,‘ another great song from the record features Palmer. The album is tight, with some of the best musicianship money can buy.“ – Rolling Stone

The album cover features a photomontage by Robert Lockart that includes an image of a line of prostitutes, standing in a red-light area from Rouen in France waiting for clients. The image was chosen because of its relevance to the album title. Walter Becker and Donald Fagen themselves commented on the album art in their liner notes to the reissued The Royal Scam, saying that The Royal Scam album possessed „the most hideous album cover of the seventies, bar none (excepting perhaps Can’t Buy a Thrill).“ The cover was banned in Francisco Franco’s Spain and was replaced with a photograph of the band playing in concert.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

When I first listened to this new UHQR, having ‚grown up‘ with the original, I thought it sounded a bit soft and almost anemic, but it’s cut at a relatively low level, which the Clarity vinyl makes possible without having noise get in the way. It’s a very quiet vinyl formulation. This means you can really crank up the UHQR. In fact, to really enjoy it, you must. When you do, the music will come to life on top, the midrange will bloom with detail and the bottom will be firm, deep and satisfying. Vocal clarity and ‚body‘ benefit greatly from Grundman’s mastering, yet Victor Feldman’s percussive accents remain sharp, clean and present. Start with side three’s ‚Reelin‘ in the Years‘, especially if you are acclimated to the original pressing and I think you’ll be sold on your purchase… I enjoyed every play, even the lesser sounding ones. The musicianship is so good on this record. Even the tunes that don’t quite hold up well fifty years later are well played. Who’s doing this kind of work today in rock?

-Michael Fremer, Tracking Angle, Music 9/11, Sound 9/11
The 200g 2LP Can’t Buy A Thrill serves as one of the best listening experiences you’ll have this year.

-Mark Smotroff, Analog Planet, Music 8/11, Sound 9/11

Artykuł Steely Dan<br />Can’t Buy A Thrill pochodzi z serwisu Cleartone.

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz for Debby was originally released in 1962 as a companion to Sunday at the Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans‘ unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, „Waltz for Debby,“ serves as the centerpiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans‘ masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including „My Foolish Heart,“ „Detour Ahead,“ and „Milestones.“ With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans‘ introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of Waltz for Debby lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience’s presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz for Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans‘ genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

If we gave out 12s, these would have to get 12s but we only go up to 11.
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

Artykuł Bill Evans<bre />Waltz for Debby pochodzi z serwisu Cleartone.

<b>200g 45rpm Ultra High Quality Record 2LP!
Limited to 5,000 Copies!
Mastered by Kevin Gray at Cohearent Audio from the Original Analog Tapes!
Pressed on Clarity Vinyl at QRP!</b>

Bill Evans Trio Sunday at the Village Vanguard UHQR 200g 45rpm 2LP Box Set

Artykuł Bill Evans Trio<br />Sunday at the Village Vanguard pochodzi z serwisu Cleartone.

This item not eligible for any further discount offers!

Rolling Stone 500 Greatest Albums of All Time – Rated 66/500!

Audiophile reviews rave about saxophone master John Coltrane’s immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane’s most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane’s deep religious belief had influenced both his approach to life and his music-making.

You’re about to experience A Love Supreme at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan’s cut has his characteristic clarity and transparency all set against Quality Record Pressing’s usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you’ll also receive a 12″ x 12″ 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it’s not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December ’64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane’s pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane’s classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

Artykuł John Coltrane<br />A love supreme pochodzi z serwisu Cleartone.

Born August 7, 1936 in Columbus, Ohio, Roland Kirk grew up to become one of the most all-encompassing and unique virtuosos in jazz 

Born essentially blind (his eyes could distinguish light), he showed an early desire to try to make music from things such as the end of a water hose. His first real instrument, at age 9, was the trumpet, but his doctor felt that it put too much pressure on his eyes, so he switched to saxophone and clarinet. He was a natural musician and a fast learner who was playing professional gigs while still in high school. 

He dreamt at age 16 that he was playing three instruments at once. In a local music store, he soon found two rare oddities: a manzello which is a Spanish variant of the soprano sax with a bent, flaired bell and a stritch, which was essentially a straight alto sax with a large bell at the end. He worked out his own false fingerings to be able to play three-part harmony on the three saxophones. At age 23, he made his first album for King Records in Cincinnati. That label was the home of James Brown and other great R & B acts and Kirk’s album quickly became a rare collector’s item. He progressed quickly and became well known in Chicago where he made his second album for Argo in 1960 at the behest of Ramsey Lewis. He ventured to New York in 1961 making an album for Prestige Records with organist Jack McDuff. The war between the pro-Kirk and anti-Kirk factions in the musical and critical communities was taking shape. Genius or gimmick-laden huckster? History fell on the side of genius.

Artykuł Roland Kirk<br />The Limelight / Verve Albums<br /> Mosaic Records pochodzi z serwisu Cleartone.

„I don’t really do conventional…“ – Marianne Faithfull

Recorded in New Orleans with a core of exceptional local musicians, Horses and High Heels features eight cover versions and four original songs co-written by Marianne Faithfull, four songs which feature the virtuoso guitar playing of John Porter, a musician/producer friend most noted for his work with Roxy Music, Eric Clapton and The Smiths. The album also includes one song with lyrics specially written for her by Irish playwright Frank McGuiness (the evocative „The Old House“), two cameo appearances on guitar from another old friend, Lou Reed, plus further cameos from Dr. John and MC5’s Wayne Kramer. It’s all exquisitely produced by long-term collaborator Hal Willner, the soundscape alchemist behind the critically-lauded Easy Come, Easy Go (2009), her astonishing collection of covers and duets featuring more of the kind of people Marianne calls friends, from Keith Richards and Jarvis Cocker to Rufus Wainwright and Nick Cave.

There’s the brooding, spectral guitar-rock of Greg Dulli & Mark Lanegan’s ‚The Stations‘, the swooning, country-rock tinge of R.B. Morris‘ „That’s How Every Empire Falls“ and the bar-room blues and ’70s soul revue thrills of Jackie Lomax’s „No Reason“. „We chose some soul material this time which I was very unsure of at first,“ muses Marianne. „No Reason, Back In Baby’s Arms, Gee Baby, these songs are more vocally demanding and it was quite frightening. But I think we managed it.“ Elsewhere are glimmering ’70s soul classics, from the gorgeous, steel-guitar-layered „Love Song“ (originally written by ’70s song-writer Lesley Duncan and made famous by Elton John), the bewitching piano reverie of Carol King’s ‚Goin‘ Back‘ (definitively recorded in ’66 by Dusty Springfield) and her positively Shakespearian rendition of the Shangri-Las masterpiece, „Past Present and Future“.

Her four original new songs are a revelation: the folky and unfeasibly rousing „Why Did We Have To Part?“, an elegy to the end of a long relationship „I just couldn’t resist a break-up song – and the pain is over‘, to the rollicking, Hammond swirl of ‚Prussian Blue‘ (a paean to her life in Paris), the rhythmically compelling, Celtic-folk-tinged ‚Horses and High Heels‘ and the joyous ‚Eternity‘ featuring a sampled Arabian-jazz flourish from Brian Jones‘ recording in Morocco with the Master Musicians of Jajouka (1968’s „Brian Jones Presents: The Pipes of Pan at Jajouka“). „It’s all a very different style for me,“ notes Marianne, „much more rhythmic. And a very modern record, it’s not looking back to the past at all. All the songs are about now, you know?“

Marianne is, they say, the Godmother of Goth, both doomed romantic and ultimate bohemian survivor. A teenage pop star, rock star’s girlfriend and iconic beauty in the 1960s

Artykuł Marianne Faithfull<br /> Horses and High Heels pochodzi z serwisu Cleartone.

Artykuł Sam Cooke<br />Mr. Soul pochodzi z serwisu Cleartone.

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